-
Anthony Goicolea (American), Tree Dwellers, 2005. C-print.
-
Felipe Barbosa (Brazilian), Ursa Major (Great Bear), 2006-2007. Teddy bear covered with small explosives. Barbosa’s work often challenges the meaning of the objects he appropriates by altering their physical compositions and creating unexpected and formally engaging situations. By covering a readymade teddy bear with snaps (novelty firecrackers), the artist has depleted the cuddly and affectionate associations of the bear and make it more volatile and threatening. Similar to Golden Rhino by David Mach, made entirely of live matches (currently installed in Proof), Barbosa shifts the focus from use and intent of an object to its formal qualities - allowing new ideas and associations inherent to the materiality of an object to be more recognized. The materials such as matches and snaps not normally associated with sculpture loose their original function and become purely aesthetic. Felipe Barbosa lives and works in Rio de Jainero, Brazil. He has been the subject of solo exhibitions at Galeria Arte em Dobro, Rio de Janiero; Programa de Exposiccões do Centro São Paulo and Espaço Cultural Maria Martins, Rio de Janiero. His work has been included in numerous exhibitions at Foundazione Pitti, Florence, Italy; Brooklyn Institute of Contemporary Art, Brooklyn, NY; Centro Cultural España, Buenos Aires, Argentina; Museum of Modern Art, Rio de Janeiro and many others. His work is included in various public and private collections including Museu de Arte Moderna, Rio de Janiero, Fudação Cisnerios, and Museu de Arte Contemporanea de Niteroi, Rio de Janiero.
-
Nick Cave (American), Soundsuit, 2007. Found beaded and sequined garments.
-
Michael Eastman (American), Isabella's Two Chairs Dyptych (Cuban Interior Series), 1999-2000. Chromogenic c-print. Michael Eastman's Cuban Interior Series documents the decayed architecture that appears frozen in time by the years of atrophy during the Presidency of Fidel Castro. Similar to his Vanishing America series, Eastman’s Cuban Interior Series portray the neglect due to social and political forces much in the vein of Eugene Atget's remnants of modernization or Walker Evans' depiction of the poverty caused by the Great Depression. A self-taught photographer and native of St. Louis, Eastman has produced a body of work over the last thirty-years ranging from European architecture to Midwestern storefronts. He is in the collections of the Art Institute of Chicago, the Metropolitan Museum, the Boston Museum of Fine Art, the Los Angeles County Museum of Art, and St. Louis University Museum of Art.
-
Anthony Goicolea (Cuban-American), Portrait in Negative of a Boy with Harmonica as Madame Gautreau, 2007. Acrylic, graphite, and pastel on mylar.
-
Anthony Goicolea (Cuban-American), Search Party, 2007. Acrylic paint and mixed media on mylar, mounted on painted wood panel.
-
Anthony Goicolea (Cuban-American), From left to right: Related 5b, 2008. Black and white digital print. Portrait in Negative of a Boy with Harmonica as Madame Gautreau, 2007. Acrylic, graphite, and pastel on mylar. Related Installation #1 Telephone Pole, 2008. Inkjet prints, graphite and pastel on mylar, two speakers, two lights, wires. Search Party, 2007. Acrylic paint and mixed media on mylar, mounted on painted wood panel.
-
Pieter Hugo (South African), Mallam Galadima Ahmadu with Jamis, Abuja, Nigeria, 2007. C-print. The four photographs by Pieter Hugo are from the artist's most recent series, The Hyena and Other Men 2005-2007. Hugo followed a group of 'Gadawan Kura' or 'Hyena Handlers' across the African country-side in search of understanding more about this multi-generational tradition. The series that resulted from the artist's two trips to Nigeria explore the marginalized class of itinerant performers and animal keepers who hold a near-mythic status in a culture caught between the urban and the wild. In the artist's words, 'these pictures depict much more than an exotic group of travelling performers in West Africa. The motifs that linger are the fraught relationships we have with ourselves, with animals and with nature.' The artist also questions 'why Nigeria, the world’s sixth largest exporter of oil, is in such a state of disarray.'
-
Pieter Hugo (South African), Mummy Ahmadu and a snake charmer with a rock python, Abuja, Nigeria, 2005. C-print. The four photographs by Pieter Hugo are from the artist's most recent series, The Hyena and Other Men 2005-2007. Hugo followed a group of 'Gadawan Kura' or 'Hyena Handlers' across the African country-side in search of understanding more about this multi-generational tradition. The series that resulted from the artist's two trips to Nigeria explore the marginalized class of itinerant performers and animal keepers who hold a near-mythic status in a culture caught between the urban and the wild. In the artist's words, 'these pictures depict much more than an exotic group of travelling performers in West Africa. The motifs that linger are the fraught relationships we have with ourselves, with animals and with nature.' The artist also questions 'why Nigeria, the world’s sixth largest exporter of oil, is in such a state of disarray.'
-
Pieter Hugo (South African), Adullahi Mohammed with Gumu, Ogere-Remo, Nigeria, 2007. C-print. The four photographs by Pieter Hugo are from the artist's most recent series, The Hyena and Other Men 2005-2007. Hugo followed a group of 'Gadawan Kura' or 'Hyena Handlers' across the African country-side in search of understanding more about this multi-generational tradition. The series that resulted from the artist's two trips to Nigeria explore the marginalized class of itinerant performers and animal keepers who hold a near-mythic status in a culture caught between the urban and the wild. In the artist's words, 'these pictures depict much more than an exotic group of travelling performers in West Africa. The motifs that linger are the fraught relationships we have with ourselves, with animals and with nature.' The artist also questions 'why Nigeria, the world’s sixth largest exporter of oil, is in such a state of disarray.'
-
Pieter Hugo (South African), Mummy Ahmadu and Mallam Mantari Lamal with Mainasara, Abuja, Nigeria, 2005. C-print. The four photographs by Pieter Hugo are from the artist's most recent series, The Hyena and Other Men 2005-2007. Hugo followed a group of 'Gadawan Kura' or 'Hyena Handlers' across the African country-side in search of understanding more about this multi-generational tradition. The series that resulted from the artist's two trips to Nigeria explore the marginalized class of itinerant performers and animal keepers who hold a near-mythic status in a culture caught between the urban and the wild. In the artist's words, 'these pictures depict much more than an exotic group of travelling performers in West Africa. The motifs that linger are the fraught relationships we have with ourselves, with animals and with nature.' The artist also questions 'why Nigeria, the world’s sixth largest exporter of oil, is in such a state of disarray.'
-
Dinh Q Le (Vietnamese), Go Cong Dong Beach #2, 2006. C-print.
-
Dinh Q Le (Vietnamese), Go Cong Dong Beach #4, 2006. C-print.
-
Dinh Q Le (Vietnamese), Texture of Memory #9, 2000. Hand embroidery on cloth.
-
Dinh Q Le (Vietnamese), Texture of Memory #15, 2000. Hand embroidery on cloth.
-
Dinh Q Le (Vietnamese), Untitled #17 (Cambodia: Splendour and Darkness), 1999. C-print and linen tape.
-
-
-
-
-
-
-
-
-
-
-
